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Updated: June 6, 2025
Schongauer, Dürer, Michelangelo, Titian, Raphael, Rubens, Poussin, Van Dyck, Breughel and other masters on canvas vied with each other to present us with a real likeness of Satan. None has, however, equalled the power of Gustave Doré in the portrayal of the Diabolical. Modern artists frequently represent the devil as a woman.
In London the opera also met with splendid success, having, as Chorley tells us, a great advantage over the Paris presentation in "the remarkable personal beauty of Signor Mario, whose appearance in his coronation robes reminded one of some bishop-saint in a picture by Van Eyck or Durer, and who could bring to bear a play of feature without grimace into the scene of false fascination, entirely beyond the reach of the clever French artist Roger, who originated the character."
If we trace the Renaissance movement in Germany we find that it was Albrecht Dürer who led it. Then, as always, the Germans were foremost in wood carving; with Holland and Belgium they are responsible for much of the antique oak furniture on Renaissance lines. In the sixteenth century metal work in steel, iron and brass reached its height in Germany and Italy.
"She is much too good for you," Frederick teased Peter. "She ought to be the wife of a Dürer, or still better, the wife of the wealthy Ratsherr Willibald Pirkheimer of Nuremberg. She was born to preside over a comfortable patrician household, with closets and chests full of linen and heavy silk and brocade garments.
It was of great height and breadth, with all the majolica luster which Hirschvogel learned to give to his enamels when he was making love to the young Venetian girl whom he afterwards married. There was the statue of a king at each corner, modeled with as much force and splendor as his friend Albrecht Durer could have given unto them on copperplate or canvas.
Germany was then in the terrible throes of the Reformation, and Albrecht Dürer, who has left us the portraits of several of the great Reformers, is believed to have been no uninterested spectator of the struggle, and to have held, like his fellow-painter, Lucas Cranach though in Albrecht Dürer's case the change was never openly professed the doctrines of the Reformation.
Another, an admirable and celebrated composition by Annibale Caracci, known as the Four Marys, omits Martha and St. John. The attention of Mary Magdalene is fixed on the dead Saviour; the other two Marys are occupied by the fainting Mother. Besides Joseph of Arimathea, we have sometimes Nicodemus; as in the very fine Deposition by Perugino, and in one, not loss fine, by Albert Durer.
A man cannot tell whether Apelles, or Albert Durer, were the more trifler; whereof the one, would make a personage by geometrical proportions; the other, by taking the best parts out of divers faces, to make one excellent. Such personages, I think, would please nobody, but the painter that made them.
The city, as I said, lives upon the memory of what it has been, and trades upon relics of its former fame. What it would have been without Albrecht Durer, and Adam Kraft the stone-mason, and Peter Vischer the bronze-worker, and Viet Stoss who carved in wood, and Hans Sachs the shoemaker and poet-minstrel, it is difficult to say.
He glanced casually at the picture above the fireplace. "What would you give to know" he nodded toward it "that it is a genuine Dürer?" The shrewd eyes darted at him. The clean-cut face was compact and expressionless. "Give!
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